e he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusu

FORWARD

The 188 stage Hero's Journey (Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the hundreds of Hollywood movies we have deconstructed (see URL below) are based on this 188+ stage template.

Understanding this template is a priority for story or screenwriters. This is the template you must master if you are to succeed in the craft.

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO'S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to www.clickok.co.uk for full details)

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longer needed, he (or she) departs or travels to where he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusua

st master if you are to succeed in the craft.

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO'S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to www.clickok.co.uk for full details)

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longer needed, he (or she) departs or travels to where he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusu

OURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to www.clickok.co.uk for full details)

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longer needed, he (or she) departs or travels to where he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusu

ur).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to www.clickok.co.uk for full details)

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longer needed, he (or she) departs or travels to where he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusu

e he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusual to find that the Antihero starts off with a close personal relationship that devolves (whereas the Hero most often starts off with a polarized Romantic Challenge that gradually evolves). In The Godfather (1972), Michael and Kay are initially close but their relationship devolves toward the end. In Scarface (1983) Tony and Elvira ultimately separate.

*****Inner Cave*****

The Inner Cave, whichever it is (First Threshold, Road of Trials or beyond) is where the Hero confronts Inner Challenges. In Straw Dogs (1971), Janice watches David and Amy in the bedroom.

*****Enemies*****

It is during the Middle Cave of the First Threshold that the Hero (and the audience) also meets Enemies. This can involve separate scenes. In Bonnie and Clyde (1967), we meet Moss (who agrees to come along) and then, in a separate scene, we are shown the Antagonism - the shopkeeper recognises Clyde's photo.